Not entirely sure where I’m going with this but I’ve come across the above notion which apparently is a growing field of study. It turns out that information quality is thought about in a matrix of different qualities and as soon as I saw these I thought it might be useful to think about The Odes to TL61P in these terms and see where we get to. I then had a closer look at these ‘metrics’ and decided that they wouldn’t fit this particular bill after all because they omit or confuse many of the aspects that I think about in poetry.
So, I’d like to start with what my own headings might look like. I need to emphasise that these qualities appear to me to be the ones I ‘apply’ in my reading this week and is entirely provisional, tentative and obviously subjective. In order to do this properly, I’m going to pay attention to three very different extracts from three poems that I’m reasonably familiar with and see where we get to: Andrew Marvell’s Upon Appleton House, John Mathias’ Laundry Lists and Manifestoes and Keston Sutherland’s Odes to TL61P.
This is Marvell:
But most the hewel's wonders are Who here has the holt-fester's care. He walks still upright from the root, Meas'ring the timber with his foot; And all the way, to keep it clean, Doth from the bark the woodmoths glean. He, with his beak, examines well Which fit to stand and which to fell. The good he numbers up, and hacks; As if he marked them with the axe but where, tinkling with his beak, Does find the hollow oak to speak, That for his building he designs, and through the tainted sign he mines. Who could have thought the tallest oak Should fall by such a feeble stroke! Nor would it, had the tree not fed A traitor worm, within it bred. (As first our flesh corrupt within Tempts ignorant and bashful Sin.) And yet that worm triumphs not long But serves to feed the hewel's young While the oak seems to fall content, Viewing the treason's punishment.
And this is Matthias:
.....while on a promontory broken off The screensaver image 0f an ancient SE10 Madame C's high cognates gather around boxes dropped By Ever Afterlife Balloonists working on the script Of Cargo Cults. They argue (the cognates) that a manifest Attached to shipment listing all collaterals and cogs Codes and codices for Mme's Nothing Else Cockaigne Machine In fact are elegaic poems, that David sings for Jonathan, Gilgamesh for Enkidu. They inscribe themselves as Manifestoes which proclaim their faith in algorithms of an Unkown field of force. They're cognizant and they can glow. They're coeternal, and they rise to an occasion. Although they tell no story of their lives,their little trumpets blow.
And this is Sutherland:
The west Irish had nothing but tiny scraps of land with a cabin; a pig and potatoes; but Belfast and Dublin had England. Love gets saner, stained into the glass. All countries must work together toward a mutual resolution of currency imbalances, or risk war, says the governor of the Bank of England, tasked with making the genital stage of Godzilla inevitable; but he is right, it's the answer Jesus would give if pressed; the severance will yet amount to minus sweet fuck all. Your job is to be at that orgy and to experience maximum anxiety, write, and see what happens; it's not a joke to say that you learn from that, except you decline. Synergized to social fact, surplus grout of the myriad equivalents; at the source I is screaming or am; prolegomenon to an epigram. Smoke that shit. Yes. Passion swings both ways, unfixed to be enlarged, hungry for the majority of the earth, Robert's penis is a surprise. In my tent, it is more pink than I am. I am more red or purple or brown. I had guessed, startling me, but I sucked it anyway, not to go back; I think it was an excruciation to him and a probably morally significant embarrassment, because he never used it against me when I started punching his face in on the couch that my mother pissed herself on; get it back; why did I do that, smacking around with childish fists, deepening our wishes, blunting life in him and me; and smack that miniscule nameless boy who merely explained to me that my fantasy car for sale to him could be given wheels, when I wanted it to be flat and just glide? The Victorian English had their more innocent Green Zones in India, from which to peroroate on the superiority of peace for trade; indiscreet to go slaughtering around all over the place like the Russians via the French and in any case very likely more overheads to redemption. If sex is the price for that, be it what you may; after all sex disappears anyway.
This is a broad category but, in my view, one of the things that poets do is to make words to a variety of different things at the same time, the words chosen shouldn’t ‘jar’ on the ear, should be precise whilst at the same time carrying a number of different contexts. There’s also the skill of putting words together, in whatever form that enhances both the sound of sense of what’s being written.
Taking Appleton House first, it seems to me that the words are taking us, almost by stealth, from the world of the wood to the world of politics. Unlike the others, Marvell is constrained by both rhyme and meter yet the lines proceed without that sing-song playground effect that seems to be present in too many poems of his period. Tinkle might be thought of as problematic but this is helped a little by the discovery that it can also mean ‘tingle’, especially with regard to the nose. The other concern might be the are/care rhyme in the first quoted verse and long/young in the last. It may well be that these could be credibly made to rhyme in the 17th century ( long/yong) but it still strikes me as clunky.
John Matthias is a superb technician who hardly ever puts a verbal foot wrong. I know this because I’ve been working with him to produced an annotated on-line version of his Trigons and that entire sequence is remarkable for its absence, with one very small exception, of clunk. It could be argued that I’m biased but this mastery is something I’d written about before John got in touch. The poem above is the last from the Laundry Lists sequence and these are the first lines that had me punching the air with delight precisely because of the verbal brilliance of the last line and this uncanny ability to use ordinary/conversational language to do very complex and intelligent things. As well as being a sucker for the great phrase (their tiny trumpets blow) I’m also of the view that poetry, if it’s about anything, is about a ‘mix’ of compression and precision. I have gone on at length about the last 6 and a half lines that conclude the sequence but I still feel the need to emphasise in terms of word-choice, syntax and phrasing how the very difficult to do properly is made to feel relaxed and easy.
Keston Sutherland is the most exciting British poet writing today but he isn’t without his annoyances and the most irritating of these is his tendency to throw in the obscure word or phrase which has always struck me as less than democratic- ‘prolegomenon’ and ‘perorate’ being the only offenders here. This aside, the above is utterly brilliant in that it manages to create a verbal flow that effortlessly takes us from wider public issues to the deeply personal and back again and achieves this by being both precise and economic with the words that are used. The way in which the sophisticated political analysis is smashed to bits by the extraordinary account of Keston as a child sucking off differently-coloured Robert is breathtaking, in the Prynne sense, and profoundly disturbing atleast to this particular reader. In terms of words, those used here are straightforward and clear we are not left in any doubt what is being said although the small and nameless boy at the end might carry some ambiguity. Incidentally, I’ve checked and ‘prolegomenon’ is a classical term for a written preface and I have to wonder whether ‘preface to an epigram’ is more democratic. As far as I can tell, we can reasonably use ‘declaim’ instead of ‘perorate’ and the same argument applies. I don’t find myself feeling the same about Matthias’ cognates because I can’t think of a more accessible substitute.
One of the surprising things about thinking in this way is that I’ve discovered or refined what seems to be important to me. I used to think of this as ‘voice’ but I now realise that this musical term seems to cover this better. I also realise that, most of the time, I’m attracted to and impressed by a mix of the clever and the playful. I’ll try to use these three extracts to think a bit more about what I mean.
Starting with the woodpecker’s journey through the wood. The first verse reads as a description of this progress and plays with language to create an ostensibly simple and pleasant scene. Things become much more serious by the end of the third verse which makes the subject matter very clear. The language sounds like an attractive melody but (cleverly) carries more than a little ‘bite’ it also conveys a degree of ambiguity which I find satisfying. The creation of these twelve lines of complexity seems quite improvised and conversational yet the ‘message’ is very serious indeed and refreshingly different in its use of play from other poetic efforts of the time.
I now see that it was this combination was what drew me in to Matthias’ work, in his longer work he clearly plays with language and conveys to the reader the pleasure that he takes in this. More so than with Marvell The above is a demonstration of the playfully clever in this pleasure and the verbal exuberance of the opening lines. The concluding image does many things given that the sequence as a whole is about our relationship to a sense of order and the ways in which we struggle with that. I hesitate to say this but “their little trumpets blow” is about as playfully clever as it gets.
Since i first came across his work, I’ve thought of Sutherland as essentially experimental even though he probably views himself as essentially political. The good thing about these experiments is that they mostly work. The beginning of this particular paragraph reads like the beginning of an earlyish Jon Zorn Riff, leaping from target to target at a rapid pace. Then you come across Godzilla’s genital stage which injects some humour into this depiction of Capital and Empire. The one-liners ooze (technical term) with cleverness and there’s clearly more than a little fun with words being had along the way. The most cleverly playful aspect is the insertion of the childhood confessions which tackles the wider theme of how the breaking of secrets can be a powerful and liberating political weapon.
I’m against political poems mostly because I find them too ‘viewy’ in the E Pound sense and I have more than enough views of my own. All of these poems ‘do’ politics but accomplish other things as well. Upon Appleton House encompasses landscape and the effects of natural forces, celebrates the life and achievements of his employer, Thomas Fairfax (all-round Civil War good guy) and presents this front row view of one of the most turbulent times in British history. It also does all these things very well indeed. I’m not that interested in the political aspects of the Civil War because I think we continue to give them far too much importance but I am fascinated by how poets responded to those events on either side of the ‘fence’. I am however fascinated by the interplay between the forces of the state and individual agency. Fairfax was on of the most prominent figures on the Roundhead side of the fence yet he was firmly opposed to the trial of Charles I, indeed on the first day of the trial his wife heckled from the gallery. So what Marvell seems to be playing with, as in his An Horatian Ode is the complexities involved in any political strategy/
Laundry Lists and Manifestoes is less obviously political but nevertheless plays along the manifesto / manifest / list and the way in which we ‘lean’ on lists as a kind of prop to calm our various neuroses. It’s not that lists are meaningless and arbitrary collations (as with Perec) but that they are inherently faulty in many kinds of ways. One of the very many clevernesses is that the sequence can itself be read as a long and overlapping list of proper nouns, so it’s a list of listists about lists. Of course, manifestoes are a central part of political life and they have there own frailties between ideology and electoral success.
Keston Sutherland is determinedly political and The Odes present a more considered analysis of the dismal workings of the state than his previous work but also makes use of his personal biography to make a more general but astute point about secrets and the liberating effect of exposing secrets.
One of the ‘big’ secrets of contemporary life is that children are sexual beings with sexual feelings. This isn’t in any way a defence for paedophilia but unleashing this particular secret does cast a lot of adult assumptions about notions of innocence and purity out of the window. In The Odes Sutherland describes in quite graphic detail his own childhood sexual preferences and desires and contrasts these with the desire of his parents to both prevent these being acted upon and to keep them hidden from the world. As well as disliking political poetry, I have a distinct loathing of what we now think of as confessional work so I should really hate this particular mix but it is saved by the strength of the analysis and the wider implications of the confession. I think.
There’s also the issue of wider appeal, we all live under the rule and by the rules of the state, we’re currently watching a couple of states looking increasingly fragile from internal strife and one that has gone beyond the point of self-destruction. We all make lists, nobody is free from the deep need to impose order on the world around us and this takes the form a list of nouns interspersed with a list of their ‘connectors’. We all have a personal manifesto which, whether conscious or not, guides our behaviour. Mine is poorly articulated notion of integrity that contains all of the qualities that I aspire to and it’s there because my previous behaviours have refined down those moral traits that make sense to me. There have been other lists, the clearest being the set of tasks that needed to be done in order to gain as much money in as short a time as possible. Everybody should think more about lists in a much more critical and sceptical manner- Matthias’s sequence prods us into doing that very thing. In a similar fashion we all need to confront our most hidden and awkward secrets and the lies that we tell ourselves about them. It now seems to me absurd that we deny in ourselves what we know to be true and incorporate that denial into our view of the world. Keston’s choice of secret is perhaps extreme but there are many, many others, the way that we deny our racism, our material greed and what Foucault almost described once as the fascist within.
I read a lot of poetry and I’ve noticed a new demarcation in addition to honest / dishonest line and it’s to do with futility. It seems to me that the vast majority of published work on both sides of the Atlantic is utterly pointless, it makes no positive cultural contribution and is staggeringly complacent even as it glides into its own irrelevance. I’m not going to name names but it does take a lot for work to rise above this dismal morass. None of these three are complacent, the poets involved a clearly challenging themselves to produce work that challenges the staus quo and move things forward in a positive direction. I accept that Marvell’s being dead for a long, long time but nobody yet has picked up the gauntlet that he laid down.
In conclusion, I’m discovering a growing number of components that make up my idea of quality and it is making me read familiar work in new and fascinating eays. I wonder if others have their own readerly criteria…?
Have you posted this on FB? V. interesting, of course. I’d like to link it.
Have done so now, an oversight, did twitter but not this
Very interesting, thanks John.
I’ve always thought that the ‘Tilden Principles’ for successful interpretation also worked for the poems i like best: Provoke, Relate, Reveal.
But then i am a self-confessed and artless morass-dweller!
No you’re not, what does he mean by ‘relate’, isn’t it important to be impressed as well?
‘Relate’ i think here means to find some point of contact between the things being said and the experiential realm of the reader; even just fingertips is fine, enough not to be remote/alien and therefore ultimately disengaging.
Yes i think it does matter to be impressed, but I guess I am impressed when successfully provoked, related and revealed to, at least in so far as having been left with a strong or lasting impression.
So maybe that’s an emotional impressed-ness rather than an intellectual one. Or maybe both but not at the same time.
Ah, I’m reasonably comfortable with the remote because I get bored v quickly and I’m keen to be distracted. Since paying attention to Geoffrey Hill and David Jones. for example, I find myself immersed in religious stuff that I can’t relate to but it’s very remoteness and the challenge that it brings are v attractive. Of course, this does not apply to poems about sums or physics.
Think I’m impressed by the great phrases and innovation that ‘works’ and old-fashioned skill, I’m also impressed by anyone that’s better than me or is more successful at doing the things that I want to do.
yes makes sense for sure.
I’m a bit of a fish when it comes to poems i think – i need bait i recognise to lure me in before i’ll launch at it and find myself transported. On the other hand i don’t much want to die gasping in a terrifying world of pain so that’s a rubbish analogy.
Or maybe being wrenched out of the everyday and then put back altered isn’t so bad.
I think I need to be shown new stuff because otherwise I’d lose interest. This doesn’t always work out, recent failures include Donne and The Pearl but both gave me other things to think about. Also think it’s okay to be baffled